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The Powhatans' Theatrical Rebuttal to Disney's Revisionist Myth

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The Powhatans' Theatrical Rebuttal to Disney's Revisionist Myth Rowan University Rowan Digital Works Theses and Dissertations 7-16-2003 Pocahontas reclaimed: the Powhatans' theatrical rebuttal to Disney's revisionist myth Barbara E. Gardner Rowan University Follow this and additional works at: https://rdw.rowan.edu/etd Part of the Theatre and Performance Studies Commons Recommended Citation Gardner, Barbara E., "Pocahontas reclaimed: the Powhatans' theatrical rebuttal to Disney's revisionist myth" (2003). Theses and Dissertations. 1299. https://rdw.rowan.edu/etd/1299 This Thesis is brought to you for free and open access by Rowan Digital Works. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Rowan Digital Works. For more information, please contact [email protected]. POCAHONTAS RECLAIMED: THE POWHATANS THEATRICAL REBUTTAL TO DISNEY'S REVISIONIST MYTH by Barbara E. Gardner A Thesis Submitted in partial fulfillment of the requirements of the Master of Arts Degree of The Graduate School at Rowan University July 14, 2003 Approved by Professor Date Approved (U t/( c3d03 ABSTRACT Barbara E. Gardner Pocahontas Reclaimed: The Powhatan's Theatrical Rebuttal To Disney's Revisionist Myth 2002 Dr. Elisabeth Hostetter Theatre This study compares the content of play The One Called Pocahontasto the Walt Disney film Pocahontas. The author examined the accepted history of the Powhatan woman known as Pocahontas in relation to the "infotainment" provided by both the play and the movie. The study examines the objections to the Walt Disney movie Pocahontas and poses them as motivating factors for the Powhatan tribe's decision to use theatre to respond to the inaccuracies they perceived in the movie. The primary research methods of the study include an analysis of existing literature and internet sites about Pocahontas, an interview with the playwright, and reviews of the play and the movie. The study concludes that the play The One Called Pocahontas as an effective tool for presenting a version of history more authentic than the Disney film Pocahontas. While theatre, by nature an ephemeral art, could not generate an audience of the magnitude of the Disney movie, the success of the play, measured by the interpersonal connections between the actor and the audience, proves noteworthy. Mini-Abstract Barbara E. Gardner Pocahontas Reclaimed: The Powhatan's Theatrical Rebuttal To Disney's Revisionist Myth 2002 Dr. Elisabeth Hostetter Theatre This study compares the content of the play The One Called Pocahontasto the Walt Disney film Pocahontas. The study finds that the play The One Called Pocahontaspresented a more authentic version of history than the film Pocahontas. ACKNOWLEDGEMENTS The author wishes to thank Chief Roy Crazy Horse, Tony Howarth, Kim T. Hunter and the Powhatan Confederacy for their cooperation and friendship, as well as their heroic efforts to teach history in the face of corporate insensitivity. Heartfelt gratitude is expressed to Dr. Elisabeth Hostetter, Bart Healy, Carmella Conn, Anthony Fusco and Philip Graneto for their unwavering support, guidance and encouragement. To my parents William and Anita Crielly, I appreciate all you have sacrificed for me throughout my life. And finally to Joe, Alexa and Marlowe, your patience, love, understanding and support made my dream attainable. ii Table of Contents Acknowledgm ents....................................................................................... ii Chapter One Introduction ............................................................................ 1 Chapter Two The Life of Pocahontas ...................................................... 11 Chapter Three Pocahontas Goes Disney .................................................... 21 Chapter Four The Controversy ................................................................. 36 Chapter Five The One Called Pocahontas................................................43 Chapter Six Conclusions, Implications and Further Study ........................ 64 References..................................................................................................70 Appendix....................................................................................................73 iii Chapter One Introduction On August 2, 1996 the play The One Called Pocahontasopened at the Powhatan Renape Nation's reservation. This production offered an authentic and educational story about the Powhatan woman named Pocahontas. The One Called Pocahontas directly challenged the fabricated story offered in Walt Disney's animated film Pocahontasreleased in 1995. The tribe commissioned the play because they believed the Walt Disney Studio's movie presented a revisionist mischaracterization of Native Americans in popular culture for profit and entertainment. The Powhatan tribe chose theatre as their educational, political and social platform to refute the movie. The study evaluates Disney's movie and the Powhatan play in terms of how successfully each presented historically accurate, pro-female, pro-multicultural, pro- environment and pro-Native American entertainment. Disney claims to service this criterion in their film. In final analysis, Disney's product proves insufficient in meeting these objectives and their attempt invalidates the groups it purports to celebrate. This insult provided the impetus for the creation of the play The One Called Pocahontas. The study proposes that the Powhatans succeeded where Disney failed. The study focuses on the accepted history of the Powhatan woman Pocahontas and compares that history to the myths portrayed in both the movie and the play. It 1 also outlines the numerous critical objections to the movie and the importance of the play in rekindling the pride of the Powhatans. Purpose of the Study Financial profit presents the fundamental motivation behind the Disney Studio's making of the animated movie based on the life of Pocahontas. However, by treating historic facts with dramatic license to reach a homogenized mass audience, the film presents gross inaccuracies, which falsely educates a generation of film viewers. Furthermore, this creates a need to re-educate the public on the actual history of the Powhatan people so that audiences can appreciate the complete history and the different cultures that comprise America. This study evaluates the effectiveness of the action taken by the Powhatan tribe to combat the sweeping effects of the film through the medium of theatre. This thesis describes a bias towards the Powhatan people and their effort to use the theatre to recover their silenced voice. The tribe's communal response recounted history, even though the history unfavorably depicts a large part of the play's audience (the Euro-Americans). Traditional American history favors the viewpoint of the Euro- Americans. National pride extols the belief that America, created as a haven of equality, offers equality to all. The display of more accuracy in the play The One Called Pocahontas exposes the faults of Euro-American history: faults often sanitized or blatantly omitted from history lessons. Popular entertainment such as the Disney Studio's film, Pocahontas,released on the brink of the twenty-first century, advances stereotypes, which ridicule and degenerate Native cultures and traditions. 2 In contrast the play offers a deeper understanding of the struggle of the Powhatan people and other Native Americans during the last four hundred years of the occupation of their lands. Nevertheless, the play does not alienate the audience by including the entire history of the Native Americans/Euro-American relations. This larger history includes decimation of tribes from war and illnesses, rape and kidnappings of the innocent and seizure, redistributing and desecration of their land. Significance of the Study Through a case study of The One Called Pocahontasthis study investigates the use of theatre as an effective medium for re-framing social and political attitudes. The tribe successfully used theatre to re-educate an audience through an inter- personal relationship between the historical characters in the play and live actors. The relationship between the actors and the audience allowed for the uncomfortable subject matter (treatment of the Native Americans by the Euro-Americans) to become both personal and non-threatening to the audience. An audience member experiences theatre both collectively and individually, so on that personal level, the theatre introduced a palatable and influential view of a story. This study also offers a comprehensive history of the life of Pocahontas from the Powhatan perspective, as well as documentation of the objections surrounding the popular film Pocahontas. The author endorsed the idea of Disney Studio's responsibility to provide factual accuracy when making biographical films. While outlining where the film fails, the study illuminates the success of The One Called Pocahontasin fulfilling Disney Studio intentions. In contrast to the film, the play 3 presents a story universally appealing while reinforcing positive ideas about women, Native Americans, multi-culturalism and the environment. Limitations This study does not offer statistical analysis of audience numbers, demographics, production costs or lasting impact of the effects of the Walt Disney Studio movie Pocahontasor the Powhatan play The One Called Pocahontas. It accepts the fundamental differences between film and theatre and does not seek to evaluate the quantitative effect, but rather compares the film and the play in terms of historical
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